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Essay by Dr. Cheryl Kramer: Ithaca College, September 2009
In Spectacle Spectacular: Cautionary Tales and
Other Stories, Dawn Hunter explores the visual
messages embodied in popular culture. Through
her engagement with the evolution of the female
body in mass media, she exposes the mythology
of popular culture and reveals its influence on
contemporary gendered identity.
The work stems from Hunter’s careful study of
Vogue magazine, specifically from 1980-2000.
The artist begins each work by analyzing
numerous magazines. After distilling the complex
and often contradictory messages about women
encoded in these spreads, she then makes a
three-dimensional maquette of a selection of
images, which allows her to move beyond
reproducing flat, two-dimensional photographs.
Working from these three-dimensional collages
results in a layering of images that are disjoined
from their original context. By subtly altering and
regrouping her source material, she creates
visual dissonance, as seen in A Matter of Time,
2009.
Other Stories, Dawn Hunter explores the visual
messages embodied in popular culture. Through
her engagement with the evolution of the female
body in mass media, she exposes the mythology
of popular culture and reveals its influence on
contemporary gendered identity.
The work stems from Hunter’s careful study of
Vogue magazine, specifically from 1980-2000.
The artist begins each work by analyzing
numerous magazines. After distilling the complex
and often contradictory messages about women
encoded in these spreads, she then makes a
three-dimensional maquette of a selection of
images, which allows her to move beyond
reproducing flat, two-dimensional photographs.
Working from these three-dimensional collages
results in a layering of images that are disjoined
from their original context. By subtly altering and
regrouping her source material, she creates
visual dissonance, as seen in A Matter of Time,
2009.
A Matter of Time, 2009
Hunter’s use of photography to stage her work
is similar to that of American artist Richard
Estes who, beginning in the 1960s, assimilated
numerous photographic stills to collect and
record information on the urban landscape in
photorealist paintings such as Bus Reflection
(Ansonia), 1974 (Private Collection). Hunter’s
figures are similarly related in a formal sense
or by the activity they are engaged in, but, as
seen in Nice Girls Don’t Paint Like That, 2006,
they remain emotionally isolated from one
another. Unlike Estes, however, the
brushstrokes are visible and serve to remove
the paintings from their photographic sources.
is similar to that of American artist Richard
Estes who, beginning in the 1960s, assimilated
numerous photographic stills to collect and
record information on the urban landscape in
photorealist paintings such as Bus Reflection
(Ansonia), 1974 (Private Collection). Hunter’s
figures are similarly related in a formal sense
or by the activity they are engaged in, but, as
seen in Nice Girls Don’t Paint Like That, 2006,
they remain emotionally isolated from one
another. Unlike Estes, however, the
brushstrokes are visible and serve to remove
the paintings from their photographic sources.
The Spectacle Spectacular series can be
read as mass media still lifes. One of the
principle genres of Western art, still-life
painting is characterized by the
arrangement of diverse inanimate objects,
including food, plants, and artifacts,
usually within a domestic setting.
Traditionally, still lifes celebrated material
pleasures such as food and wine, and
could be read as a warning about the
ephemeral nature of these pleasures and
the brevity of human life.
read as mass media still lifes. One of the
principle genres of Western art, still-life
painting is characterized by the
arrangement of diverse inanimate objects,
including food, plants, and artifacts,
usually within a domestic setting.
Traditionally, still lifes celebrated material
pleasures such as food and wine, and
could be read as a warning about the
ephemeral nature of these pleasures and
the brevity of human life.
Unlike works by Dutch painters such as Pieter Claesz (1597-1660) and Willem Kalf (1619-
1693), Hunter’s still lifes focus on fashion images and their coded messages. She does not
comment on the transience of life, but on the fleeting nature of beauty and the variable
notions of female identity found in her source imagery. The painterly surface of her works is
more in keeping with the still life work of the French realist and impressionist Edouard Manet
(1832-1883). In works such as Oysters, 1862 (Washington, DC, National Gallery of Art),
Manet’s seemingly simple arrangement of oysters, lemon, cup, and fork belies a rich array of
textures—here, the smooth, watery oysters against the rough, dry shell, and the juicy flesh
of the lemon contained within its waxy rind. Hunter’s contradiction similarly lies in the tactility
of her work—the viewer is reminded that these are paintings, which is at odds with the
smooth, glossy texture of her source material.
1693), Hunter’s still lifes focus on fashion images and their coded messages. She does not
comment on the transience of life, but on the fleeting nature of beauty and the variable
notions of female identity found in her source imagery. The painterly surface of her works is
more in keeping with the still life work of the French realist and impressionist Edouard Manet
(1832-1883). In works such as Oysters, 1862 (Washington, DC, National Gallery of Art),
Manet’s seemingly simple arrangement of oysters, lemon, cup, and fork belies a rich array of
textures—here, the smooth, watery oysters against the rough, dry shell, and the juicy flesh
of the lemon contained within its waxy rind. Hunter’s contradiction similarly lies in the tactility
of her work—the viewer is reminded that these are paintings, which is at odds with the
smooth, glossy texture of her source material.
In Every Body is Most Beautiful, 2007,
Hunter turns to art history as well as
popular culture as she paraphrases
nineteenth- and twentieth-century
painting, film, and fashion photography.
Within a circular composition she presents
a chronological narrative of story and
source, which is reinforced by her use of
the gaze. The nineteenth-century bather
on the right is a passive subject for the
(male) viewer to gaze upon. In the center
the woman at the dressing table has her
roots in Manet’s Victorine Meurent, the
artist’s favorite model, twentieth-century
American and European painting, and film.
Hunter turns to art history as well as
popular culture as she paraphrases
nineteenth- and twentieth-century
painting, film, and fashion photography.
Within a circular composition she presents
a chronological narrative of story and
source, which is reinforced by her use of
the gaze. The nineteenth-century bather
on the right is a passive subject for the
(male) viewer to gaze upon. In the center
the woman at the dressing table has her
roots in Manet’s Victorine Meurent, the
artist’s favorite model, twentieth-century
American and European painting, and film.
She directly meets the gaze of her gentleman caller reflected in the mirror, who reminds us
of our role as viewer. The composition culminates in a late twentieth-century runway model
on the left, who is aloof and indifferent to our gaze, as well as our presence. In this narrative
of women dressing, she presents an evolution of gendered identity and the role of women in
visual images.
Fashion magazines use images to sell goods; by removing the products, Hunter also
comments on consumerism. In works such as Design of a Classic Conception, 2007, the
women seem out of place without the goods they are meant to hawk. The critique of
consumerism is even more evident in Save Me and Save Yourself, 2008. Here,
environments have been depleted of their richness, desolated by consumption. Her use of
layering and disjunction, both in form and iconography, result in what she describes as
“immediate and resonant psychological experience[s] for the viewer.”
of our role as viewer. The composition culminates in a late twentieth-century runway model
on the left, who is aloof and indifferent to our gaze, as well as our presence. In this narrative
of women dressing, she presents an evolution of gendered identity and the role of women in
visual images.
Fashion magazines use images to sell goods; by removing the products, Hunter also
comments on consumerism. In works such as Design of a Classic Conception, 2007, the
women seem out of place without the goods they are meant to hawk. The critique of
consumerism is even more evident in Save Me and Save Yourself, 2008. Here,
environments have been depleted of their richness, desolated by consumption. Her use of
layering and disjunction, both in form and iconography, result in what she describes as
“immediate and resonant psychological experience[s] for the viewer.”
Save Me, 2008
Hunter received her Master of Fine Arts in painting the University of California at Davis and
cites her experience with the California Funk movement, particularly from her graduate
professors Robert Arneson (1930-1992) and Roy De Forest (1930-2007), as pivotal. Funk
artists fused playfulness with sources from popular culture in an effort to engage the
everyday viewer and reintroduce a sense of social responsibility to contemporary art.
Hunter’s work is similarly irreverent and iconoclastic. Her work is grounded by an internal
framework, and the linear nature of her paintings recalls the draftsmanship of Arneson, who
also taught her the importance of humor and the power she possessed as both a woman
and an artist. From De Forest’s visual tales she learned the strength of narrative.
Her works are not scathing critiques but an invitation for the viewer to investigate further, to
question and to draw their own conclusions. Indeed, the strength of Hunter’s work lies in its
impact on the audience. She states that viewers may love or hate her work, but they are
never neutral.
Spectacle Spectacular was selected for exhibition by the Handwerker interns Jade Ang and
Marianne Dabir who, after reviewing scores of exhibition proposals, argued that the Ithaca
College audience would find resonance in Hunter’s exploration of the visual messages
embedded in popular culture and of women in mass media. How right they were—Hunter’s
work has generated much discussion amongst viewers from the moment we opened the
doors.
Invaluable support for this exhibition was provided by Desiree Alexander, Kaila Armbruster,
Brody Burroughs, Juliana Byard, Jessie Cacciola, Cindy French and the Offica of Variable
Data and Media Technology Services, Jennifer Germann, Jennifer Jolly, Suzanne Lynch,
Lauren O’Connell, John Roberstson and the Office of Facilities, Anna Pattis, and Laurie
Ward. Special thanks to Jade Ang (English ’10) and Marianne Dabir (Journalism ’11) for
their insight. Finally, I am indebted to Dawn Hunter for enthusiastically sharing such exciting
and provocative work with us.
Dr. Cheryl Kramer
Director
Handweker Gallery
cites her experience with the California Funk movement, particularly from her graduate
professors Robert Arneson (1930-1992) and Roy De Forest (1930-2007), as pivotal. Funk
artists fused playfulness with sources from popular culture in an effort to engage the
everyday viewer and reintroduce a sense of social responsibility to contemporary art.
Hunter’s work is similarly irreverent and iconoclastic. Her work is grounded by an internal
framework, and the linear nature of her paintings recalls the draftsmanship of Arneson, who
also taught her the importance of humor and the power she possessed as both a woman
and an artist. From De Forest’s visual tales she learned the strength of narrative.
Her works are not scathing critiques but an invitation for the viewer to investigate further, to
question and to draw their own conclusions. Indeed, the strength of Hunter’s work lies in its
impact on the audience. She states that viewers may love or hate her work, but they are
never neutral.
Spectacle Spectacular was selected for exhibition by the Handwerker interns Jade Ang and
Marianne Dabir who, after reviewing scores of exhibition proposals, argued that the Ithaca
College audience would find resonance in Hunter’s exploration of the visual messages
embedded in popular culture and of women in mass media. How right they were—Hunter’s
work has generated much discussion amongst viewers from the moment we opened the
doors.
Invaluable support for this exhibition was provided by Desiree Alexander, Kaila Armbruster,
Brody Burroughs, Juliana Byard, Jessie Cacciola, Cindy French and the Offica of Variable
Data and Media Technology Services, Jennifer Germann, Jennifer Jolly, Suzanne Lynch,
Lauren O’Connell, John Roberstson and the Office of Facilities, Anna Pattis, and Laurie
Ward. Special thanks to Jade Ang (English ’10) and Marianne Dabir (Journalism ’11) for
their insight. Finally, I am indebted to Dawn Hunter for enthusiastically sharing such exciting
and provocative work with us.
Dr. Cheryl Kramer
Director
Handweker Gallery
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